Download Camus (Blackwell Great Minds) by David Sherman PDF

By David Sherman

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Publish yr note: First released October twentieth 2008
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Reflecting the profound effect he keeps to exert on well known attention, Camus examines the full physique of works of French writer and thinker Albert Camus, delivering a accomplished research of Camus' most crucial works--most significantly The fantasy of Sisyphus, The Stranger, The Fall, The Plague, and The Rebel--within the framework of his uncomplicated moral orientation.

• Makes Camus' issues transparent in phrases that would resonate with modern readers
• finds the cohesion and integrity of Camus' writings and political activities
• Discusses Camus' ongoing relevance via displaying how he prefigures many postmodern positions in philosophy, literature, and politics

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Extra resources for Camus (Blackwell Great Minds)

Sample text

Then Scamp’s building failed as well; it needed alterations, and during reconstruction works a cornice fell and killed five workmen. Much antagonism followed in the local press, and Scamp was branded as incompetent by the Maltese not least because he was British, some kind of Protestant devil. Here the project itself seemed to suck loser-architects into it, no doubt not that rare a phenomenon. 3 The early-nineteenth-century designers of St. Paul’s Anglican Cathedral, Valletta, Malta, were all losers.

Gifted, hardworking architects 22 CHAPTER 1 can lose battles about style, or politics; they can choose a path which is unpopular or unfashionable, and as a result be pretty much forgotten. They can be a person who recoils from the overwhelmingly macho nature of most architectural criticism, or from the small cliques that influence or even decide what is fashionable. In small countries, for example Israel and the Nordic countries, these cliques can be tiny, a kind of dictatorship of opinion that survives because there is no bulk of opposition to it, or because simple, strong alliances can be forged between cultural critics and politicians.

16 Corwin’s only mistake as far as posterity is concerned was to have been in the wrong place at the wrong time, standing beside one of the greatest talents of America; almost everything that his story tells us is actually about Wright and not about him. 17 According to Mosette Broderick, who noticed it at first hand when working with Adolf Placzek at the Avery Architectural Library at Columbia University in the 1970s, Wright’s son John used to buy up sheets of the 2-cent postage stamp that had his father’s face on so that he could make up larger values for the parcels he posted to the library, knowing that row upon row of images of the threatening old face would be canceled out by a plethora of thick black postmarks.

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